FDTimes June 2019 Online & at Cine Gear

Film and Digital Times June 2019 Issue 95 is now online. Go to fdtimes.com top left for details and download. We are also at Cine Gear. Visit us in booth 207 in the New York Streets. read more…

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Angénieux Optimo Prime Flying In

Enroute AF 072 CDG-LAX. May 29. Flying in to Cine Gear

Across the aisle on Air France 072 from Paris to LAX is a 40mm prototype Angénieux Optimo Prime. It is carefully hand-carried by Angénieux executives Severine Serrano, Christophe Remontet and Emmanuel Sprauel — heading for Cine Gear this Friday-Saturday. See the framegrabs in the post as well. read more…

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New Preston Hand Unit 4 HU4

New Preston Hand Unit HU4 to be introduced at Cine Gear. Features
35% lighter weight than HU3 with Micro Force zoom.
Adjustable focus knob drag.
LED triplet provides uniform focus scale illumination.
Super-rugged tactile switches rated for 10 million cycles.
Menu items can be accessed either by tactile keys or touch screen entry.
Large sunlight-visible 4.63″ diagonal display.
Large display fonts make lens data easy to read.
Reversible black/white background for interior/exterior use.
Focus, Iris, and Zoom scales are precisely represented.
Non-linear iris scales are mapped to a linear scale. read more…

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First Angénieux 35mm Prime in 1951

Here’s an update from Cannes about the newly announced Angénieux Optimo Prime lenses. (18mm, 21mm, 24mm, 28mm, 32mm, 40mm, 50mm, 60mm, 75mm, 100mm, 135mm, 200mm.) Specifications and prices will be announced at Cine Gear.

Willy Kurant, ASC, AFC talked about working with Orson Welles and the first Angénieux wide angle 18.5 mm prime lens (FDTimes September 2013). “In the 1950s, I bought the 18.5 mm Angenieux Retrofocus wide angle prime. read more…

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Angenieux Optimo Prime Lenses

Cannes, France. Thursday May 23. Angenieux announces Optimo Prime Lenses. Full Frame 46.5mm image circle coverage Maximum aperture 1.8 T-stop. 21mm, 28mm, 40mm, 50mm, 75mm and 135mm for the initial 6-lens production run scheduled for delivery Fall 2020. The complete 12-lens set will include the above focal lengths and 18mm, 32mm, and 100mm lenses delivering Winter 2020; and 24mm, 60mm and 200mm… read more…

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Bruno Delbonnel, AFC, ASC and the Angénieux Excellens Award at Cannes

Bruno Delbonnel, AFC, ASC was born in Nancy, France and graduated in 1978 from ESEC film school in Paris. A distinguished cinematographer, he has worked with Jean-Pierre Jeunet, Tim Burton, the Coen brothers, Joe Wright and many others. Bruno Delbonnel has been nominated five times for Best Cinematography Oscar: Amélie (2001), A Very Long Engagement (2004), Harry Potter and the Half-Blood Prince (2009), Inside Llewyn Davis (2013), and Darkest Hour (2017). On May 24, 2019, Bruno receives the Pierre Angénieux ExcelLens Award in cinematography at the Cannes Film Festival. read more…

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Teradek RT CTRL.3

The Teradek RT CTRL.3 is a new, 3-axis wireless Focus, Iris and Zoom lens control. With built-in lens mapping, you can set up and calibrate the scales of your lenses and store the data inside the control unit— to be summoned up in an instant when you change lenses, thus avoiding time-consuming end-stop and focus mark setup. read more…

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C’est Cannes 2019

The 72nd Festival de Cannes is now open. Follow the 12 days of Cannes on the official Festival website. The Cannes 2019 poster celebrates filmmaker Agnès Varda. If anyone knows the name of the camera assistant or grip whose back she’s standing on, please contact FDTimes. It was August 1954 and, as the official Cannes press release describes, she was filming… read more…

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Tokina Vista Primes

Planning for the Tokina Vista Primes began in 2013. During the early stages, Ryan Avery, VP of Formatt KT America and Tokina Cinema products, met with cinematographers to get feedback. He also came up with the name: Vista Primes. From the beginning the lenses have been designed to cover beyond Full Frame and cover the RED 8K VV sensor (46.7mm image diagonal) that was introduced in June 2015. The image illumination of the longer focal lengths covers the 5K image area of the Alexa 65 camera that was introduced a year earlier, in September 2014. The lenses came to market a year later, in 2016. read more…

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SIGMA Burbank Studio

Sigma recently opened a new 10,000 sq. ft. studio, showroom, screening room, lens repair shop and office facility. And, at NAB 2019, Sigma showed three new high-speed Full Frame cine prime lenses: 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF. This brings the total count of Sigma cine lenses to 13: FF Zoom, High-Speed Zoom and FF High-Speed Primes. They have PL, E and EF mounts. LF to come. read more…

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CVP Large Format Test with ARRI

CVP recently hosted a Large Format event in collaboration with ARRI at the CVP & ARRI Creative Space. The CVP team set up a test with the ALEXA LF, ALEXA Mini (fitted with LPL mount) and ARRI Signature primes. The lenses were 18, 25, 35, 47, 75 and 125 mm. The event was overseen by CVP Account Manager Aaron George, who prior to joining CVP in 2017, spent almost 12 years at ARRI as UK Head of Camera Service. read more…

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Sony VENICE Firmware Update 4.0 — 120 fps

VENICE at 120 fps in 4K 2.39:1, 60 fps in 6K 3:2 Full Frame and lots more…Sony VENICE continues to catch the attention and imagination of filmmakers worldwide. It is working on many features, commercials and television productions. Full Frame is gaining traction as almost every lens manufacturer rolls out an increasing number of Full Frame lenses. With Version 4.0, you can purchase an optional HFR license (High Frame Rate) that takes VENICE up to 120 fps in 4K Super35 2.39:1 (4096 x 1713) and 60 fps in 6K Full Frame 3:2  (6048 x 4032). read more…

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Blackmagic Pocket Cinema Camera 4K & RAW

Blackmagic Camera 6.2 update eanbles Blackmagic RAW in the Blackmagic Pocket Cinema Camera 4K.

The Pocket Cinema Camera 4K has a Micro Four Thirds (MFT) size 18.96 x 10 mm sensor. The lens mount has a Flange Focal Depth of 19.25mm and its inside diameter is nominally 40.2 mm Ø.

Blackmagic RAW is a new codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. File sizes are smaller, which means recording time is longer. You’ll be able to record 2 hours of Blackmagic RAW in 4K on a single 256GB SD UHS-II card.    read more…

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Micro Salon Italia 2019

Federico Fellini used various visual effects in his film Casanova, one of which was a gigantic overly graphic head of Medusa rising from the dark waters of Venice’s Canal Grande during the Carnival sequence. Now, this gigantic Medusa head rests in the Cinecittà Studios of Rome, not far from Stage 10 – right across Federico Fellini’s famed Stage 5. This is where the 2019 Micro Salon Italia took place on March 22nd & 23rd. read more…

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Guillermo Granillo on LF and Supremes

Guillermo Granillo, AMC, AEC graduated from the Escuela Activa de Fotografía in Mexico City, studied graphic design at the Universidad Autónoma Metropolitana (UAM) and film at the Centro de Capacitación Cinematográfica (CCC). He is a member of the Sociedad Mexicana de Autores de Fotografía Cinematográfica (AMC) and the Asociación Española de Cinefotógrafos (AEC). read more…

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SmallHD Cine 7 Monitor

You’re probably familiar with SmallHD’s system of “pages,” where you swipe the touchscreen to view various modes and functions.

The new SmallHD Cine 7 Monitor takes this another step, with screens for video, tools and now direct camera menu controls. read more…

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Don Burgess, ASC, RED Camera Owner

“I want to have the cameras that I can really get to know. It gives me more control over the images that I’m delivering. We recently shot Sextuplets. The challenge was the fact that one actor was playing six, and at one time seven, parts in the movie. The RED camera with the MONSTRO 8K VV sensor was a perfect choice for the movie because you need to oversize. We decided on a 2:1 aspect ratio. Mike Tiddes, the director, and I basically had conversations about how this show would be viewed and what Netflix wanted. We wanted to fill up the frame with as big an image on the TV as possible. When we looked at the various ways to approach that idea, this one seemed to be a balance between shooting for the big screen in 2.39:1, which I love. I’m not crazy about 16:9. So 2:1 was something that could work for the director and me. read more…

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FDTimes Japan: ALEXA Mini LF

With thanks to NAC Inc for translating the FDTimes Japan ALEXA Mini LF Special Report, here is the Japanese edition.

Paper copies were printed for the ALEXA Mini LF Launch in Tokyo yesterday.  The event was held at NAC’s office and in the café in front.  Yas Mitsuwa reports, “More than 120 people participated in the event and people are looking forward to this new camera.  Mr. Schenk and Mr. Shipman-Mueller were in Japan for the event.”

Special thanks to Yas Mitsuwa and Keith for the translation, and Amemiya san (Mr. InDesign).

Here’s the landing page for all FDTimes Japan editions. read more…

Vocas LPL Mount for Sony VENICE

Vocas has an LPL mount for Sony VENICE. It is an LPL to E-mount adapter. Vocas also has a PL-to-E-mount adapter. So now, you can mix and match LPL, PL and E-mount lenses. Vocas Systems Larenseweg 121 Hilversum (NH) 1221 CL The Netherlands Phone: +31 (0) 35 62 33 707  

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Teradek 4K Wireless Video

You’re the director of a Netflix show, shooting in 4K, viewing video on a gorgeous 4K HDR monitor. But you’re still tethered to the camera by cables because you don’t have 4K wireless. Or you’re watching wireless video when the camera is unleashed on Steadicam or gimbals—but it’s HD video, not 4K. You bellow, “When is Teradek going to build a 4K video wireless Bolt?”  Here it is. Teradek introduced the Bolt 4K Wireless video transmitter/receiver system at NAB 2019. read more…

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